Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Turkey and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1978.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Delhi kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Steve Hackett to the funk kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Susan Cadogan. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Vogues,
Grandmaster Flash and the Furious Five,
The Happenings,
Black Sheep,
Magazine,
Lizzy Mercier Descloux,
Mary Jane Girls,
The Remains,
Kas Product,
Eve St. Jones,
Nico,
Nas,
Cybotron,
Toni Rubio,
Ultramagnetic MC's,
Sarah Menescal,
The Cosmic Jokers,
Henry Cow,
Dead Boys,
The Black Dice,
Orchestral Manoeuvres in the Dark,
Agitation Free,
Camron Feat. Jay Z And Juelz,
The Moleskins,
H. Thieme,
Minutemen,
Public Enemy,
Idris Muhammad,
Leonard Cohen,
Roxette,
Donald Byrd,
Sonic Youth,
K-Klass,
The West Coast Pop Art Experimental Band,
Kaleidoscope,
The Knickerbockers,
Massinfluence,
The Mojo Men,
The Skatalites,
Aaron Thompson,
Donny Hathaway,
The Tremeloes,
Masters at Work,
The Fugs,
A Flock of Seagulls,
AZ,
Gary Puckett & The Union Gap,
R.M.O.,
David Axelrod,
Lucky Dragons,
Lungfish,
Hoover,
Nation of Ulysses,
Oppenheimer Analysis,
Monks,
Mr. Review,
The Blackbyrds,
Bobby Hutcherson,
Marine Girls,
Lindisfarne,
Marmalade,
Derrick May, Derrick May, Derrick May, Derrick May.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.